Eaton, A.W.. A Lady in the Street But a Freak in the Bed: On the Distinction Between Erotic Art And Pornography
2018, British Journal of Aesthetics, 58 (4): 469-488
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract:
How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.Comment (from this Blueprint): Eaton argues that what really matters in the distinction between pornography and erotic art, has little to do with artistic or aesthetic features, value, or function. Instead, the distinction follows social power structures along the class line: the priviledged reserve art status (and positive value) to works available only in an exclusive ‘private iconic circuit’ but are otherwise no different from those available in the ‘public iconic circuit’ and labelled pornography (and evaluated negatively). Eaton likens the distinction to that between two kinds of prostitute: a ‘courtesan’ and a ‘whore’, suggesting that in both cases the distinctions originate in class divisions and serve to reinforce them. Eaton’s text can serve as a great case study in the debate surrounding the distinction between low and high art, as well as a sceptical argument against the classificatory project altogether: could all our attempts to distinguish art from non-art be just expressions of discrimination along various lines of priviledge?
Eaton, Marcia Muelder. A Sustainable Definition of “Art”
2000, in Theories of Art Today, ed. by Noel Carroll (London: The University of Wisconsin Press)
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Added by: Simon FoktContent: Eaton begins with some remarks on the practical need for classification of art and proceeds to present and improve her definition. Her focus is not on specific properties of artworks, but on the fact that they possess properties which within a given culture are considered worth attending to. The modifications made to the theory follow a realisation of Western-centric bias embedded in the original formulation, and the discussion explicitly aims to work towards a definition which acknowledges the cultural differences in art production and appreciation. Eaton moves on to discuss Danto’s and Cohen’s claims that art cannot be defined and points out some Western-centric aspects of their arguments. The paper ends with an overview of what it is for art and its definition to be sustainable.Comment: Western-centric bias in art classification is explicitly addressed in the article and efforts are made to account for the cultural variations in attitudes to and classification of art. This can offer a powerful motivation for the students to seek similar biases in other definitions and ask whether they entail a preferential treatment of Western art.
Eaton, Marcia Muelder. Art, Artifacts, and Intentions
1969, American Philosophical Quarterly 6(2): 165 - 169
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Added by: Simon FoktContent: The paper is written in support of the claim that artworks have to be artefacts. In a series of thought experiments involving driftwood and poems typed by monkeys, Eaton argues that linguistic objects such as warnings or poems have to result from intentional actions. She supports this argument by distinguishing linguistic objects from linguistic actions. To understand an utterance, it is necessary to not only explicate the meaning of the words used, but also to interpret the linguistic action which resulted in it. Literary works require interpretation, and interpretation requires reference to the linguistic actions of the work’s creator – their intentions. So literary works need to result from intentional actions, i.e. be artefacts. Similarly, artworks are objects of interpretation and thus must be artefacts.Comment: The artefactuality requirement is involved in various definitions of art and thus Eaton’s paper can be used in many contexts. With its narrow topic and a lack of introduction to any particular definitions, in the context of undergraduate teaching it remains a rather specialised reading. It is best used as a further reading, or as a required reading in higher level modules which already introduced more general works on art classification.
Eaton, Marcia Muelder. A strange kind of sadness
1982, Journal of Aesthetics and Art Criticism 41 (1):51-63.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: HERE IS a Steve McQueen, Jackie Gleason, Tuesday Weld movie called Soldier in the Rain that I watch whenever it comes on the TV late show. I have seen it at least half a dozen times. The first time I saw it, I cried at the end. The next time I saw it I began crying just before the end. Now I choke up when it starts and cry more or less steadily through the whole thing. My husband and son find this exasperating. "Why are you going to watch that if it is just going to make you unhappy?" they ask. What they do not understand is that very few things bring me greater pleasure than watching this movie, crying all the way through. Or perhaps my son does understand when he disdainfully concludes, "You're crazy".
Eaton, Marcia Muelder. Kantian and contextual beauty
1999, Journal of Aesthetics and Art Criticism 57 (1):11-15.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: Two conflicting but strongly entrenched intu itions about beauty hold sway in the hearts and minds of many. On the one hand, many people believe that attributions of beauty to objects or events are unmediated-that all that matters is one's direct, personal response. If something is beautiful, one just sees it; cognitive or ethical concerns matter little. On the other hand, many people are drawn to the view that the beautiful is not independent of other human values and atti tudes-that our attributions of beauty are related to beliefs or moral judgments. At the end of the eighteenth century, Immanuel Kant represented the former view with such cleverness that his ar guments continue to disturb even those who re main unconvinced by them. At the end of the nineteenth century, partly as a result of the influ ence of Kant's theory of beauty, Leo Tolstoy felt forced to downplay the importance of beauty's role in explaining the value of art-a trend that continued for several decades. At the end of the twentieth century, increasing numbers of aes thetic theorists and practitioners are persuaded that beauty does matter in art, and although many, including me, believe that beauty is a con textual property deeply connected to factual be liefs and moral attitudes, the tug of Kant's arguments remains strong.
Eaton, Marcia Muelder. Merit, Aesthetic and Ethical
2001, Oxford University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirPublisher's Note: To "look good" and to "be good" have traditionally been considered two very different notions. Indeed, philosophers have seen aesthetic and ethical values as fundamentally separate. Now, at the crossroads of a new wave of aesthetic theory, Marcia Muelder Eaton introduces this groundbreaking work, in which a bold new concept of merit where being good and looking good are integrated into one.
Edgington, Dorothy. On Conditionals
1995, Mind 104(414): 235-329.
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Added by: Emily Paul, Contributed by: Helen De CruzSummary: Examines the theory of conditionals and whether it's possible to have a unified theory of them.Comment: Great core text as there are many important discussion points here, and Edginton uses lots of helpful examples. Could set students the task of coming up with their own conditionals, and analysing these in the would/will sense. This definitely requires a background in beginner's logic.
Edgington, Dorothy. Indicative Conditionals
2001, In The Stanford Encyclopedia of Philosophy (Fall 2020 Edition), Edward N. Zalta (ed.)
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Added by: Franci MangravitiAbstract:
The chapter is an introduction to logical treatments of indicative conditionals, comparing truth-functional, non-truth-functional, and suppositional approaches. Some of the topics discussed are truth conditions, conditional belief, assertability, and issues with compounds of conditionals.
Comment: This page can be used in a course focused on the philosophy of conditionals, as an introduction/overview of the basic logical issues; or in any logic course wishing to spend more time on this particular notion.
Egan, Frances. Representationalism
2012, In Eric Margolis, Richard Samuels & Stephen Stich (eds.), The Oxford Handbook of Philosophy and Cognitive Science, OUP, 250-272.
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Added by: Nick NovelliAbstract: Representationalism, in its most widely accepted form, is the view that the human mind is an information-using system, and that human cognitive capacities are to be understood as representational capacities. This chapter distinguishes several distinct theses that go by the name "representationalism," focusing on the view that is most prevalent in cogntive science. It also discusses some objections to the view and attempts to clarify the role that representational content plays in cognitive models that make use of the notion of representation.Comment: A very good overview of representationalism. Suitable for a preliminary introduction to the topic.
Egan, Frances. Computational models: a modest role for content
2010, Studies in History and Philosophy of Science Part A 41(3): 253-259.
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Added by: Nick NovelliAbstract: The computational theory of mind construes the mind as an information-processor and cognitive capacities as essentially representational capacities. Proponents of the view claim a central role for representational content in computational models of these capacities. In this paper I argue that the standard view of the role of representational content in computational models is mistaken; I argue that representational content is to be understood as a gloss on the computational characterization of a cognitive process.Comment: Good paper about the relation of representation and content to computation. Best suited to higher-level courses on the subject.
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